The proposal is bornt from an interpretation of the place as the footprint of the industries prior to urbanization. Existing traces define our schedule.
The conceptual idea is based on the density distribution of the program throughout the place, focusing on program bands that alternate density variable green outdoor spaces and covered spaces where the construction program focuses.

In her series Immemorial (1994), Rosângela Rennó showed an installation of fifty photographs that yield dark portraits of workers and children who built Brasília, the capital whose architectural design was championed for its utopian vision. In a warehouse of the Public Archive of the Federal District, Rennó found suitcases of more than 15,000 files concerning the employees of the government construction company Novacap. In Immemorial, she uses stories that told of a massacre in the workers’ barracks and of dozens of workers who had died in the building of Brasília and been buried in the foundations. In the archives, these workers were classified under the heading ‘dismissed due death’.Charles MEREWETHER

In approaching the design for the new Kimball Art Center, we found great inspiration in the urban development of Park City, the Kimball site, and the city’s mining heritage. We feel the form of the new Kimball Art Center emerges where these rich stories overlap.
We were particularly moved when a long-time resident of Park City spoke nostalgically about the former Coalition Building, which once stood just south of the Kimball site. It stood 80 feet tall for 80 years as an iconic landmark for Park City and a monument to the mining heritage, until a fire tragically brought it down in 1982. We wanted to recreate some of its attributes in the new Kimball Art Center - not only the proportions&#160;and materiality but the history it represented.

Relocating the Museum of Natural Sciences into the Forum Barcelona building signals the beginning of a new life cycle for both institutions: one where each mutually benefits from the space, program and potential of the other. With its large exterior and interior spaces and its reference to natural processes and shapes, the architecture of the Forum is a particularly appropriate new home for the relocated Museum. And the Museum of Natural Science promises to energetically revitalise the existing building, replacing vacant space with intense new public activities.
The open public space that marks the approach from the Diagonal and extends under the triangular body of the building is now diversified and activated, engaging with the life of the city. The corner addressing the city centre retains its function as the main public approach. This is enhanced by the three existing pavilions which are reconfigured to provide meeting places for groups and general information along the approach to the museum entrance. The second corner, further along the Diagonal is enlivened with lush external planting and the basin under the water patio. And finally, the corner addressing the sea is activated by a new exterior dining area for students and groups, adjacent to a bar which opens onto the plaza. The interior of the elevated triangular building, which is like a vast interior landscape, structured by patios, creates a specific space well suited to an exhibition of Natural science and to the Museum’s demand for growth and need to display more of its outstanding collection.

Between the canal and the railway, the area is enclosed.
Our project strives to reconnect it with the city.
That is why we rely on strong structural elements to both organize the territory and make it attractive:
le Mail commerçant (spine of the site)
le Quai équipé (It will be a « buffer » space between the rails and the new neighborhood and a true sign of the city entrance from the train.)
la Halle culturelle (memory of the site)
le Parvis minéral (place of recreation, leisure and interaction)
la Prairie urbaine (green space of the area)
le Quartier résidentiel (Dense and lively)

The XYZ dimensional structure is a system to design a building in the most crowded parts of densely populated cities that are deprived of public, green and people-friendly places. It can be built on any location, where the small size of the plot doesn’t allow a large public square, a backyard, or a playground for kids. It is a multifunctional independent structure, which facilitates various public functions, such as cafés, restaurants, ice-cream shops, backyards, small football pitches or basketball courts, streets, footpaths, green squares, lawns or parks. An applied system of working with only one element and various incisions in different places allows us to devote every part to an independent function and, at the same time, obtain changeable sections. The result is not only an interesting architectural form, full of spaces of different proportions, measurements, heights, lengths or widths, with different quantities of light and shadow, but also something which seems to be impossible – an open and common public space, despite being limited by walls and ceilings. On the one hand, the various sections and gaps formed between stores combine them visually and, on the other, they allow all the sounds and scents to flow freely through the interior, so that one can hear the sound of children playing in playgrounds, or a ball bouncing on a basketball court in every part of the building. It can be built to every scale and size, from a small architectural intervention or house-size form to a skyscraper. It is a concept, a system, a way of thinking about architecture in extremely dense districts, rather than a finished solution. The scale is less important than the concept, the space and the architecture itself.

Gerhard Richter’s cycle October 18, 1977 consists of 15 paintings and was created between March and November 1988. The paintings are the result of his fascination with terrorist group the Red Army Faction (RAF), which had been active in Germany since the beginning of the 1970s. The group tried to draw attention to their grievances about capitalist society by means of armed robberies and bomb attacks. The leading members of the first generation of the group were arrested in 1972. Their terrorist activities, their unparalleled pursuit by the police force and their joint suicides provoked heated discussion in Germany for a long time.Joe Hage

Due to the absence of fences, the hexagonal shape of the plot is not clear and the ground blends with the surrounding pinewoods. The house occupies the maximal area of construction, concentric to the six-sided plot. Disposed round a courtyard to which every space converges, its peculiar form finds a precise boundary in the outline of a canopy. Service areas provide geometry and stability to the main spaces.

Shanghai encapsulates the essence of glamor, refinement and modernity. The sound of the Paris of the Orient resonates in this proposal for the Meicang site. It brings together local history, optimism and an essential emergent style in an elemental, sophisticated, and site-specific design strategy.
The four distinct existing structures – the silo building, the corridor structure, the Japanese villa and the No. 2 building – will be unified through a language of modernist abstraction.

Each building is examined on its own merits. The design enhances the essential qualities of each respective building. Through material and sheen, abstract detailing and programmatic intervention, the buildings come together as a relational network, unified in style.

The remarkable structure of the industrial silo building supports shimmering new cladding for the art museum. It stands as the central jewel on the grounds, reflecting the magnificent view of the Shanghai waterfront. A light-filled kaleidoscopic journey along the corridor structure is created on the upper level of the original structure. Underneath, one finds a shaded landscape of retail, cafes and outside seating.

The construction of a natural landscape and the insertion of another one in turn is proposed (a long green strip populated of housing and equipment) that contorts itself inside the site and is interwoven with the continuous mass of trees. The project bases the construction of this landscape on a system of withdrawal, storage and recycling of the water that allows its maintenance and in addition generates spaces with ideal conditions of dampness of freshness. From a global strategy of the management of the water by means of the use of the natural local resources and a suitable selection of the open spaces, it will appear a palette of materials for the base fabric generating a new landscape. Inside, the introduction of the strip of houses allows the creation of a public space halfway between a living forest and artificial urban fabric. Intestitial spaces that lie between and under the strip thus become an intense part of the project.

In the work of Brazilian artist Laura Lima, the body “retains a firm grip on the imagination”. It is a body exposed to interpretation, pushed to its limits, “condemned to endless repetitions or impeded and interrupted gestures”. Lima articulates connections and obstacles between bodies and objects. In her work, the body is undifferentiated from things. It is a mouldable object; it is flesh. It has no specific character or identity, but is everyone, condemned obsessively to repeat situations and gestures as if it had no other purpose than to underline the impossibility of transcendence, the failure of communication.Ana Sanchez-Colberg

The apartment building is part of a large scale public housing reconstruction project located about 15 minutes from Gifu City by car. Four women architects were selected under the coordination of Japanese architect Arata Isozaki to execute the projects. This L-shaped Wing designed by architect Kazuyo Sejima sits on the south-east part of the site where the idea for the overall layout of the development was to run the buildings around the perimeter.http://gifuprefecture.blogspot.com/

The design of this condominium building is based on the natural law of Archimedes that makes warm air rise and cold air drop. Very often in an apartment, a real difference of temperature can be measured between the floor and the ceiling, a difference that could sometimes even be 10 °C. Depending on our physical activities and the thickness of our clothes, the temperature doesn’t have to be the same in every room of the apartment. If we are protected by a blanket in bed, the temperature of the bedroom could be reduced to 16° C. In the kitchen, if we are dressed and physically active, we could have a temperature of 18°C. The living room is often 20°C because we are dressed without moving, motionless on the sofa. The bathroom is the warmest space of the apartment because here we are naked. Keeping these precise temperatures in these specific areas could economize a lot of energy by reducing the temperature to our exact needs. Related to these physical and behavioural thermal figures, we propose to shape the apartment into different depths and heights: the space where we sleep will be lower while the bathroom will be higher. The apartment would become a thermal landscape with different temperatures, where the inhabitant could wander around like in a natural landscape, looking for specific thermal qualities related to the season or the moment of the day. By deforming the horizontal slabs of the floors, different heights of the spaces are created with different temperatures. The deformation of the slabs also gives the building its outward appearance.

The buildings of the cultural and community premises of Paris Diderot University fit into the undeveloped, southwest area of the Flour Market which was recently converted by Nicolas Michelin and Associates Agency. A break between the Flour Market and the new building is preserved. It respects the existing building and accentuates the slenderness of the tower. The two, independent buildings coexist completely. The signal-like extension stands out of its context by means of its evolving shape. It is a sensitive, delicate object, treated simply to avoid rivalry with the strong presence of the Flour Market. On the contrary it acts as a light, gravitational counterpoint. An architectural dialectic and emulation come into play much like a castle and its keep, both intrinsically inseparable.

The regional bank of the Swiss canton of Baselland is
setting up a new and representative commercial building on the station square in Liestal, a town on the outskirts of Basel. The prominent volume, a contorted ashlar narrowing on the base, receives its shape from the triangular lot of land it is set upon. Towards the station side, the façade is cut out to open up to a generous canopied area. It provides a roof for waiting passengers from the station and for the shoppers on the
ground floor level. A modular façade grid embraces the building’s top floors and traces the volume’s distortion
at the bottom. Each façade panel relates to an office axis inside and forms a small oriel.